Andrea Riseborough

It is alright if the name Andrea Riseborough seems a little unfamiliar. Though the actress has been a rising star in her native England for years, beginning with her role as an ambitious Labour Party...
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Gemma Arterton's West End musical Made In Dagenham is to close after just six months on stage. The curtain will come down on the play, which is based on the 2010 movie of the same name, on 11 April (15), but theatre bosses are hoping to revive the show for a U.K. tour.
Producer Rebecca Quigley says, "Of course we're sad to have to say goodbye for now, but to those amazing women who inspired this story, to our wonderful Made in Dagenham musical family and to the hundreds of thousands of people who will have seen the show before 11 April, a very big and heartfelt thank you."
The film version featured Sally Hawkins, Andrea Riseborough and Jaime Winstone as women fighting for equal rights at a car factory in Essex, England in the 1960s..

British actress Hayley Atwell is set to become the latest star to light up the West End by taking on the lead role in a critically-acclaimed play. The Captain America: The First Avenger star will appear in Alexi Kaye Campbell's Olivier Award-winning drama The Pride, which previously ran Off-broadway in 2010 with Hugh Dancy, Andrea Riseborough and Skyfall's Ben Whishaw.
In the production, Atwell plays Silvia, a woman whose marriage is crumbling, and she says of the role, "It's about identity and repression. She (Silvia) had the feminine quality of taking her own pain and putting it aside, as she watches her marriage break down."
The Pride will open at London's Trafalgar Studios on 8 August (13), just months after another big name, James McAvoy, was seen in an acclaimed production of Macbeth at the same venue.

Details of British actor Clive Owen's Broadway debut have leaked to the media thanks to his Shadow Dancer co-star Andrea Riseborough, who looks set to join him on the New York stage. The two Brits were promoting their new movie at a junket in New York on Wednesday (29May13) when the actress was asked about her plans to return to the theatre - and let slip that she was planning to join her co-star onstage.
Riseborough told reporters, "I did a play in New York called Pride in 2010. I would love to come back and we've been thinking about something recently that I think would be pretty exciting. The only thing I can say is it might involve Clive and I again!"
Clearly not ready to make the announcement, a shocked Owen said, "She won't keep things quiet! There's nothing more to say, but, I've never had a Broadway debut. I did a lot of plays in London but never in New York."
The actor then quickly changed the subject and opened up about his theatrical past, recalling, "I trained in the theatre; I went to the Royal Academy for three years and the first thing I did was I toured a play all over the place. My first play in London might have been Design For Living.
"When I first started that's all I wanted to do was the stage. I'm very lucky with the way things have panned out. I love making movies and I love it as much as the theatre now, more probably because there's something really special about the collaboration in a film."

As Homeland's Season 2 finale ended, things were not looking good for Sgt. Nicholas Brody (Damian Lewis). Publically outed as a terrorist, he went on the run, heading out of the country. As the world's most wanted man, he will now be hunted by his adversary and sometime lover, CIA agent Carrie Mathison (Claire Danes).
So how will Brody fare in the upcoming Season 3 of hit series Homeland? Not well, as Lewis told reporters at Cannes on Tuesday.
"I think Homeland can go on forever. Whether Brody can go on forever is a different matter," Lewis says. "We’ll just play each season as it comes. Writers write themselves into interesting positions, sometimes not wholly expected positions. So it’s a continuing surprise for everybody."
While Lewis acknowledges that there could possibly be a Homeland without Brody, does he think the award-winning drama has an expiration date? "I know they won't flog it," he said. "I think once it stops being interesting they'll leave it alone."
Homeland Season 3 hasn’t started filming yet, but Showtime previously announced a September 29 premiere date. Lewis was at Cannes Film Festival to promote his new film The Silent Storm, a poetic romantic drama shooting this summer with co-star Andrea Riseborough.
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Chloe Grace Moretz and her Hugo co-star Asa Butterfield are reteaming for a new fairytale movie called The White Circus. The two child stars are attached to the Terry Gilliam project, which will also feature Andrea Riseborough.
Filming will take place in Germany and Serbia early next year (14), according to Variety.

Oblivion may be the most thoroughly derivative science-fiction film in recent memory. The Tom Cruise post-apocalyptic action film directed by Joseph Kosinski ransacks 50 years of classics in the genre. But for what purpose? Not apparently for winking irony. Or to make some kind of tongue-in-cheek pastiche that's a statement about the recurrence of certain sci-fi tropes. The movie would have to be funny for that to be the case, and it's deadly serious. In fact, you could probably even tell in the trailers for Oblivion just how many movies it's referencing intentionally, subconsciously, or kleptomaniac-ally. These are 12 films whose makers should be crying "Stop, thief!"
1. 2001: A Space Odyssey (1968) — If you need to telegraph mechanical villainy stat, you know what to do. Give the evil machine in question a pulsing red eye, just like neurotic supercomputer HAL 9000 in Stanley Kubrick's film. That's also what Andrew Stanton and the makers of WALL-E decided to do for their villain in the Pixar film. But Oblivion goes further, also giving 2001's slow-moving spherical pods a turbo-charged upgrade so they can scour the irradiated Earth for targets to blast.
2. WALL-E (2008) — Speaking of the little 'bot, WALL-E actually casts a giant shadow over Oblivion. For one basic reason. It's because Tom Cruise's Jack is WALL-E. He's been left behind on Earth to oversee clean-up while the rest of humanity abandoned the planet to take refuge on Titan, one of Saturn's moons, following the war with the Scavengers, an alien race who invaded our planet, destroyed our moon, and caused us to seek a safe haven off-world. Jack even shares WALL-E's affinity for little green plants, an affinity that Olga Kurylenko's Julia also shares with him, making her the film's EVE. Andrea Riseborough's Victoria is Auto, the rogue automatic pilot artificial intelligence program on-board the Axiom that wants to destroy plants so as to prove that earth is uninhabitable. And Melissa Leo's Southern belle dispatcher is Fred Willard's Buy 'n Large CEO.
3. La Jetée (1962) — In Chris Marker's seminal time-travel film about a nuclear war survivor who's sent back in time to get aid for post-apocalytic Earth, or stop the war outright, the one thing keeping the unnamed protagonist sane is his powerful memory of a beautiful woman from before the war. That mental image sustains him, much like the way Jack's mysterious memory of touring New York with Olga Kurylenko's Julia sustains and fascinates him.
4. Planet of the Apes (1968) — Franklin Schaffner's parable about bigotry and ignorance, starring Charlton Heston as an astronaut who gets lost in space and crashes on a planet populated by intelligent but xenophobic simians, pioneered the idea of showing ruined versions of iconic landmarks to indicate an apocalyptic setting. Most notably? The Statue of Liberty jutting out of a beach. Likewise, Oblivion shows the Statue of Liberty's torch dislodged and caught in a rocky ravine. Actually, Tom Cruise's Jack only seems to visit the ruins of iconic landmarks: the Empire State Building, the Pentagon, the Washington Monument, and a Super Bowl stadium are all on his sightseeing list.
5. Prometheus (2012) — Oh yeah, and if it wasn't already obvious that Oblivion shares its washed-out, icy gray hues with Prometheus, consider that they were both shot in Iceland, the new go-to sci-fi location.
6. Dune (1984) — Like Frank Herbert's novel, and David Lynch's quixotic 1984 adaptation of it, Tom Cruise's Jack has a revelation that makes him switch sides in the war he's been fighting. (It's not a spoiler to say that, since it's right in the trailer.) By the end, I almost expected co-star Nikolaj Coster-Waldau to pay messianic tribute to Jack by shouting, "And how can this be? For he is the Kwisatz Haderach!"
7. The Matrix (1999) — In order for Jack to have everything he knows about his world upended, he needs to have an inspirational mentor figure just like Morpheus. Only instead of Laurence Fishburne, it's Morgan Freeman. He doesn't wear leather trench coats, but he does don goggle-glasses and a cape. And smoke cigars! Because it may be the end of the world, but that's no excuse for you not to look cool. Also, there is an image near the end of the film in which we see thousands of humans in pods very much like those the machines in The Matrix use to feed off human beings' body heat.
8. Blade Runner (1982) — Much of the mystery in Ridley Scott's dystopian thriller centers on one question: Is Harrison Ford's Decker a human being, or is he a Replicant, a machine made to look human? Jack begins to question his identity in Oblivion as well.
9. Minority Report (2002) — It's a Tom Cruise movie stealing from a Tom Cruise movie! My mind is twisted like an ouroboros just thinking about it. Andrea Riseborough's Victoria uses giant console touchscreens just like Cruise's pre-crime agent in Steven Spielberg's film.
10. Aliens (1986) — Olga Kurylenko's Julia was in hyper-sleep, a state of suspended animation, for a long, long time. Much like Aliens' Ripley, who slept more than half a century after the events of Alien.
11. Close Encounters of the Third Kind (1977) — How do you convey an event of global magnitude that's also really, really weird? Show a ship tanker beached on dry land. Only an alien force, an apocalyptic event, or both could make that happen, right? Steven Spielberg had a tanker re-materialize in the Gobi Desert in his symphonic alien-abduction epic, and Joseph Kosinski does the same to indicate the world-ending mess humanity's finding itself in the middle of.
12. Independence Day (1996) — Like Roland Emmerich's alien invasion film, Kosinski's alien invasion film involves a trip into the belly of the beast. Look at this little ship being swallowed Jonah-like by this much bigger ship! We make no promises about there being a fat lady singing, however.
Did you catch Oblivion this weekend?
Follow Christian Blauvelt on Twitter @Ctblauvelt
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By now you've seen Oblivion, meaning that your brain probably feels about as contorted as a pretzel. Director Joseph Kosinski's futurist vision of post-apocalyptic Earth still reeling from the aftermath of an alien attack is insanely complicated, beginning with a lengthy prologue establishing exactly how and why Earth became the charred mess it is. But even still, not all of the back story is fully revealed until the very end, as bits and pieces of background info come together assemble in reverse, nearly Memento-style. It's unnecessarily noggin' scrambling, so here's exactly what happened if you're still confused. And if you haven't seen Oblivion yet, then, seriously, why are you reading this? Because, well, there are plenty of SPOILERS AHEAD. Also, check out 12 Sci-Fi movies we've identified that Oblivion blatantly rips off.
1. Aliens Came to Our World — Okay, well that's pretty self-evident. But Tom Cruise's Jack thinks the "Scavengers," as they're called, were defeated and mostly driven off the planet after we decided to "use the nukes" against them. He also thinks humanity left the planet, because utilizing a strategy of all-out nuclear warfare against the Scavengers destroyed the planet's surface, to found a new colony on Saturn's moon Titan. Also, at some point along the way the Scavengers destroyed our moon. Okay.
It turns out that Jack isn't serving humanity at all but rather the Scavengers, who actually do have a continued presence on Earth and basically won the war themselves since they're keeping what's left of humanity on the run. The Scavengers conduct their resource-gathering trade from their giant space station, the Tet. (I guess Kosinski had been brushing up on the Vietnam War.)
2. Why Has Jack Forgotten Everything? — We think for most of the film that it was some kind of memory wipe that prevented Jack from remembering his wife Julia, played by Olga Kurylenko. All he can sense is some deep connection to her and some fleeting snatches of memories of visiting the Empire State Building with her. But it actually turns out he barely has those memories at all because...
3. Tom Cruise is a clone! — Er, or Jack rather. When Jack was a commander aboard the Odyssey, a spaceship commissioned to investigate the Tet when it orbited Titan some sixty or seventy years earlier, he was captured by the Scavengers and his genetic sequencing was used as the template for a race of warriors to fight against humanity during their invasion. What memory engrams the original Jack possessed would be duplicated in the clones and twisted to serve the will of the Scavengers: So the real Jack is dead, and this whole film concerns itself with one of these little fake Jacks that's having a crisis of conscience. Seriously, for the whole movie we're just following one of the pluckier, nicer clone versions of Jack — a clone who's built a little cabin in a patch of woods, listens to a killer record collection of classic rock, and wears a Yankees cap to signify endless devotion. His face was that of an accomplished professional before the war, but after, with the Tet's shock troops all designed to look like Jack, it became a symbol of the enemy.
4. This Is a Lot Like The Host Isn't It? — Surprisingly, yes. Aliens have taken over what's left of Earth, and the main protagonist in this desiccated landscape of misery is someone who symbolizes the alien takeover, and maybe even is a representative of it like the extraterrestrial soul Wanda in Stephenie Meyer's film, but who has some key shred of humanity left. A shred of humanity teased out by...a love interest, of course.
5. The Kurylenko Connection — Jack and Julia (Kurylenko) served as astronauts aboard the Odyssey together as husband and wife. The real Jack was able to blast her into space in a hyper-sleep escape pod before they reached the Tet, so she escaped while he and another astronaut, Victoria, played by Andrea Riseborough were caught and cloned. To maintain control, the Scavengers paired the cloned Jacks and Victorias to patrol certain sectors of Earth, with the promise that one day they'd be able to rejoin humanity at Titan. They wanted Jack and Victoria to become a happy little nuclear family (pun intended). Only problem was that they were forcing the situation. Jack didn't love Victoria. He loved Julia! So when she returned, her escape pod crashing back to earth after decades in which she lay in beautiful, ageless hyper-sleep, it triggered all those memories and long-forgotten emotions cloned into him, making him realize the sham of his existence. Kind of like how the love square in The Host causes Wanda to switch sides and join the humans, Clone Jack's love for Julia causes him to be receptive to a band of human survivors led by a caped, cigar-chomping Morgan Freeman. They tell him that humanity has only one shot left: for someone to fly a nuke into the Tet, preferably a Scavenger clone who would be allowed in Trojan Horse-style to detonate it. That Scavenger clone would need to be turned to their side, though, and what better strategy to lure Jack than to strategically deploy the hotness of Kurylenko's Julia? The Tet was as good as blown up. And even though the Jack clone we'd been following throughout the movie would be destroyed as well, at least there would be many more clones of her late husband for Julia to choose from afterward.
Other questions about Oblivion to ponder:
Why does Jack's patrol flightpath only take him past the remains of iconic Earth landmarks?
Does Tom Cruise only ever get hurt handsomely?
Why has M83 composed seemingly a do-over of Daft Punk's TRON: Legacy score?
Why is Melissa Leo seemingly the brains behind the Scavenger operation and why does she have the worst southern drawl heard in any media since Jon Bernthal on The Walking Dead?
Are the Scavengers big fans of The Jetsons? How else to explain Jack and Victoria's stilt-apartment?
And does Jack's patrol craft look like a d***?
Follow Christian Blauvelt on Twitter @Ctblauvelt
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Tom Cruise is the biggest star on the planet, yet his greatest strength is a willingness to take a back seat to a director's vision. In Oblivion, the actor dials back his usual heroism to play pensive wanderer Jack, a technician preparing to return to the rest of civilization that recently vacated a post-apocalyptic version of Earth. After aliens destroyed our planet's moon, humans nuked the crap out of them before heading to Saturn. Jack helps harvest remaining sea water of Earth, used as fuel on the new planet, and with only days left, he dreams of the past — memories he, theoretically, should not have.
That's some serious plot. Cruise wisely goes along for the ride, leaving most of the work to director Joe Kosinski (Tron Legacy), who's just as caught up with the fluid motions of his futuristic vehicles and decimated metropolis landscapes as he is with Jack's emotional roller coaster ride. Kosinski, working off a screenplay he wrote with Karl Gajdusek (Last Resort) and Michael Arndt (Star Wars VII), picks and chooses an array of sci-fi concepts to stuff into the movie, making Oblivion a wholly original story where every moment feels familiar. Luckily, Kosinski is a master patch worker. He sweeps slowly over every landscape like he's shooting a nature film, with a fetishism over the operation of every piece of technology so we understand how it works, takes us through the daily operations of Jack and his Victoria (Andrea Riseborough) step by step so we're drowning in the monotony of their jobs. It's a slow build and Kosinski, unlike so many genre movies we see today, demands we see the work he's put into building the world of Oblivion. And it's satisfying.
Cruise makes for the perfect surrogate on Jack's observational journey. Like War of the Worlds, he can sell the blue collar worker going through the motions of flying his Mac-inspired spaceship to fix broken drone bots and he can sell the action that amps up as he uncovers the truth about his existence. Jack is never confident, and the emergence of a mysterious human visitor, Julia (Olga Kurylenko), or the leader of a subterranean resistance group (enhanced by the gravitas of Morgan Freeman), make him draw back further into his head. Kosinski twists and turns and forces Cruise back into his own head and it subverts our expectations of a public figure we still imagine jumping up and down on Oprah's couch.
There's an epic quality to Oblivion that Kosinski embraces too casually. It misses out on greatness by never finding an emotional hook and letting the score by electronica artist M83 do the talking. While Victoria and Jack's relationship is meant to be cold ("We are still an effective team," Victoria tells her literal higher ups each morning), there's little personality in the world around them — especially in the overcompensating soundtrack. It's a Tron Legacy rehash, blaring horns and pounding drums burying Cruise's hushed work. By the end, when Jack rises up to hero status, it feels more like an excuse to match the soundscape than the next step of his evolution.
Oblivion is the definition of style over substance, but Kosinski delivers on the eye candy. He and Cruise give the story and characters just enough weight that they're worth following through the multi-million dollar screensaver world — a spectacle that must be seen on IMAX. Dense with backstory, Oblivion is the type of movie that won't survive scrutiny, and that's half the fun. It'll mesmerize in the moment and spur debate, fury, and plenty of questions on the walk to the car.
3.5/5
What do you think? Tell Matt Patches directly on Twitter @misterpatches and read more of his reviews on Rotten Tomatoes!
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Disconnect is the Crash of the Internet age. Like the Best Picture-winner the stories are somewhat interconnected. It also takes itself very, very seriously. Although it has some salient points about how the Internet has affected our relationships, Disconnect comes off more like a sort of 21st century Reefer Madness about technology.
The phrase "concern-trolling" comes to mind. One of its many definitions is when someone appears to empathize with a troubling situation, but that concern is really condescending or, worse yet, barely masked schadenfreude and derision. Although I don't actually think that writer Andrew Stern and director Henry-Alex Rubin (Murderball) are enjoying the paces they put these characters through, the overall effect is one of insincerity.
Although the Internet can be a hazardous place for people of all ages, these characters' stories come across as Lifetime movie fodder. The kid who's humiliated via Facebook by two male peers isn't just withdrawn, he pouts at the world from beneath the most impressive bangs this side of Thrasher Magazine. One of his bullies is, of course, bullied himself by his resentful dad, a former cop who had to become a PI to support them after his wife died. In another subplot, a hot teen makes money getting his kit off for strangers with webcams and lives in a sort of flophouse owned by the sleazy pseudo-pimp who runs the cam site. When a journalist sniffs out this webcam ring as a great story, the line between professional and personal get blurry. For a grieving mother and wife, the succor of an online support group inadvertently gets her sucked into a phishing scam that almost ruins her and her husband's lives.
Maybe if Disconnect focused on just one of these stories, or even two interconnected ones, it wouldn't come off so overwhelmingly maudlin. Some of the concerns are terribly dated or simply ludicrous; I can't get over the fact that the term "sexcam" is used, as well as the weirdly hysterical idea of a sweatshop of possibly underage teens lured into the world of web-camming with a hot meal and a place to crash. The movie can be effective in parts, though. The Facebook bullying plotline is painfully relevant, even though it's played for high melodrama. It gives us all a disturbing look at how easy social media has made bullying, and how hard it is to escape it.
Disconnect gives some underused actors a chance to gnaw some scenery. Jason Bateman's role of the grieving and angry dad allows him to explore his darker, more sensitive side — some of his scenes are the most affecting. Andrea Riseborough is a wonderful chameleon who dons sensible suits and French-tipped manicures for her performance as a news anchor hoping to bring her career to the next level. Alexander Skarsgard is oddly effective as an emotionally stunted husband, even though it's hard to take him really seriously as an office drone. The rest of the cast — Max Thieriot, Paula Patton, Hope Davis, Frank Grillo, Michael Nyqvist, and Colin Ford — are decent enough, given what they have to work with. Fashion designer Mark Jacobs, who plays Harvey the webcam pimp, is an amazing bit of stunt casting, though he shouldn't quit his day job.
Disconnect is oddly dark and murky, but luckily cinematographer Ken Seng left his Project X shaky handheld style at home. Max Richter is an incredible composer, but in conjunction with the overripe dramatics onscreen, it all becomes a bit much. We get it, people are disconnected from each other, their feelings, and their sexuality, but isn't there some room for happiness and joy that isn't tinged with pain amid all this tragedy?
2/5
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You'll probably think twice about posting on Facebook after watching this just-released trailer for Disconnect.
Jason Bateman and Alexander Skarsgard star in the thriller about the dangers of life in the digital age. From cyberbullying to identity theft, catfishing to illegal online romances, technology has given birth to a whole new slew of problems that each character faces in Disconnect with dire (and sometimes deadly) consequences.
This is director Henry Alex Rubin’s first narrative feature with a script by Andrew Stern. Mickey Liddell, Jennifer Monroe, and William Horberg produced the film, which debuted at the Toronto Film Festival. Hope Davis, Frank Grillo, Paula Patton, Michael Nyqvist, and Andrea Riseborough also star.
Watch the dark trailer below and hit the comments with your thoughts:
Disconnect opens in limited release on April 12.
Follow Sydney on Twitter: @SydneyBucksbaum
[Photo Credit: LD Entertainment]
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Summary

It is alright if the name Andrea Riseborough seems a little unfamiliar. Though the actress has been a rising star in her native England for years, beginning with her role as an ambitious Labour Party researcher on the political satire "Party Animals" (BBC Two, 2007), the Royal Academy of Dramatic Art graduate has only appeared on American audiences' radars since 2011, when she portrayed American divorcee and future Duchess of Windsor Wallis Simpson in Madonna's divisive "W.E." But those intervening four years found the preternaturally observant Riseborough pack in several memorable performances: she earned a BAFTA nomination for her nuanced turn as a young Margaret Thatcher in the made-for-TV movie "Margaret Thatcher: The Long Walk to Finchley" (BBC 4, 2008); was cast as a strong-willed factory machinist in the union drama "Made in Dagenham" (2010); and found the strong heart of a naively trusting wife in the 2010 remake of Graham Greene's "Brighton Rock." Her affinity for portraying determined women matched up perfectly with her role as Wallis Simpson, whose romance with King Edward VIII caused him to abdicate his throne in 1936 so they could marry. The film's controversial reception did nothing to slow the thoughtful actress' burgeoning career, however, and in 2012 she earned critical acclaim for her role as an IRA-member-turned-informant in "Shadow Dancer," set in '90s Belfast. Her next role, as a mysterious drone supervisor opposite Tom Cruise in the big-budget "Oblivion" (2013), highlighted her ability to shift from intense period piece to glossy Hollywood sci-fi. With a startling intensity and wise-beyond-her years talent, Andrea Riseborough is one to watch.

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Education

Name

Royal Academy of Dramatic Art

Notes

"That’s one of the reasons I’m most excited about what I do because I feel that it might even afford us the chance to have many great, very different perspectives on the world. And that’s a great thing." - from Indiewire.com, May 31, 2013

Won the Ian Charleston Award, given to outstanding classical performaces by young actors, in 2006 for her roles in the Royal Shakespeare Company productions "Miss Julie" and "Measure for Measure"

"That's part of the reason I walk around a lot. I take the bus everywhere, because I need to. I mean, more than that, I enjoy it. People are fascinating. They're so unique and I think what's more fascinating is the reason behind the physical characteristic, the enigma, that's where the gold dust is." - from Guardian.co.uk, Jan. 7. 2012

Prepares for her roles by watching archival footage and studying photographs